Tag Archives: Comedy

1952 Films, Comedy, Cyd Charisse, Debbie Reynolds, Donald O'Connor, Gene Kelly, Jean Hagen, Madge Blake, Musical, Musical Comedy, Rita Moreno, Romantic Comedy, Stanley Donen

Singin’ in the Rain-1952

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Singin’ in the Rain-1952

Director Stanley Donen, Gene Kelly

Starring Gene Kelly, Debbie Reynolds

Scott’s Review #874

Reviewed March 4, 2019

Grade: A-

Singin’ in the Rain (1952) is most closely associated with the entertainment industry in the oversaturated field of musicals released during the mid-twentieth century.

The battle between the transition of silent pictures to “talkies” is the basis of the story, giving the film an important, along with fun, subject matter.

Likable stars and sing-along tunes make the film memorable and decidedly All-American, though perhaps not the greatest in the crowded musical field.

During the late 1920s, Don Lockwood (Gene Kelly) was a famous and well-regarded silent film star. His co-star and studio-created romantic attachment is Lina Lamont (Jean Hagen), an annoying and shallow leading lady with a harsh singing voice.

As more successful “talkies” (films with sound) are produced, Don finds himself smitten with musical chorus girl Kathy Selden (Debbie Reynolds). The plot to dub Lina’s voice with Kathy’s leads to comical chaos and an idea to create a new musical amid a blossoming romance between Don and Kathy.

The fun and frolicking Singin’ in the Rain is lightweight but never silly nor superfluous, thanks to the overriding message of the change in Hollywood priorities.

Critically acclaimed from the get-go, this is unsurprising since Hollywood loves stories about Hollywood, especially since the film was made only slightly more than two decades since sound-laden films overtook the world.

Furthermore, in 1952, television was making its debut to legions of fans, and the accessibility presented a serious threat to the cinema, making the subject matter even more relevant.

Kelly and Reynolds make a nice enough pair, but I never thought they completely knocked it out of the park from a chemistry perspective.

One slight flaw is the lack of hurdles preventing the couple from an inevitable union. Lina is the transparent foil and ultimately played for laughs, so she is not a serious threat.

The plot-driven conflict involving Kathy’s initial dislike of Don because she values stage over film is cute, but ultimately revealed to be a sham since she has been a fan of his all along.

The musical is a comedy, but better hurdles might have made for a more interesting story.

Nonetheless, Singin’ in the Rain is a pleasure and a largely non-threatening experience. The hi-jinks involved as the characters strive and struggle to put on their production are comical, and Lina’s New York accent and shrill singing voice threaten to steal the show from the more grounded central characters.

The musical numbers are a dream, and I especially like favorites like “Make ‘Em Laugh,” “Good Morning,” and the epic title song.

Through no fault of the film’s title number, “Singin’ in the Rain” will forever not be associated with this film for me but rather with the dark and cerebral A Clockwork Orange (1971). As the villain beats and rapes his victim by cheerily singing this tune, the song will forever hold a much darker association for me.

The dramatic final act is the highlight as a lavish premiere of The Dancing Cavalier is unveiled to a live theater audience hungry for something good.

When the crowd chomps at the bit for Lina to perform live, the big reveal of Kathy being the truly talented singer is displayed as the wizard in The Wizard of Oz style as Don and Kathy kiss and ride off into the sunset together in a grand show biz fashion.

In the crowded genre of the 1950s and 1960s musical productions that ravaged American cinema at the time, I mainly chose to watch West Side Story (1961), Gypsy (1962), The Sound of Music (1965), and Oklahoma! (1955) for pleasure, but Singin’ in the Rain (1952), an earlier gem, is worthy of value, especially for the memorable musical soundtrack it offers.

The story is light but also relevant and, most importantly, highly entertaining.

Oscar Nominations: Best Supporting Actress-Jean Hagen, Best Scoring of a Musical Picture

1948 Films, Bela Lugosi, Bud Abbott, Camp, Charles Barton, Comedy, Horror, Horror-Camp, Horror-Comedy, Lon Chaney Jr., Lou Costello, Vincent Price

Abbott & Costello Meet Frankenstein-1948

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Abbott & Costello Meet Frankenstein-1948

Director Charles Barton

Starring Bud Abbott, Lou Costello

Scott’s Review #865

Reviewed February 9, 2019

Grade: B+

Abbott & Costello Meet Frankenstein (1948) was the first film of several to capitalize on the comedy duo’s popularity and merge them with several horror characters in a hybrid of the horror and comedy genres.

The zany film was enormously popular with fans, leading to other subsequent pairings, but this is the best of the bunch. The ingenious idea works well, and the bumbling pair presents an entertaining film fresh with good ideas and a harmless comedy romp.

The villainous Dracula, the Wolf Man, and the title horror character make the riches even loftier.

Working as baggage clerks at a Florida train station, Chick Young (Bud Abbott) and Wilbur Grey (Lou Costello) border on incompetence. After damaging two crates at the station, they deliver them to a local wax museum. Little do the pair realize that the crates house Count Dracula (Bela Lugosi) and the Frankenstein monster (Glenn Strange).

Once Chick and Wilbur arrive at the wax museum, a comedy of errors occurs as the monsters reanimate and escape while the pair are arrested for supposed theft.

Ultimately, the film culminates with an exciting finale at a nearby island castle, where a devious doctor (Lenore Aubert) intends to remove Wilbur’s brain.

The film is wonderfully campy and over-the-top, which is a substantial part of its appeal. The setup is delicious, as the audience knows Chick and Wilbur will ultimately face the various creatures but does not know how this will happen.

The quick-witted comedy duo hardly needs coaching, but their banter and timing seem particularly palpable in this screen offering. This is impressive given the historical account of neither actor wanting to make the film and both being convinced the result would be a bomb teetering on career suicide.

Any accusations that their hearts were not in it can be dismissed.

A large part of the appeal is the three individual monsters with different motivations and offerings.

Dracula is the villain in cahoots with the mad scientist.

Frankenstein’s monster is the victim, while the Wolf Man is the suffering hero.

Returning to roles that made them famous was crucial to the success of the film, and Lon Chaney Jr. and Bela Lugosi (Wolf Man and Count Dracula, respectively) deliver their lines with gusto, careful not to make themselves too menacing nor too foolish, and both blur the horror and comedy lines with perfection.

The filmmakers must be credited for the progressive slant of casting the mad scientist as a female rather than the traditional male.

Actress Aubert as Dr. Sandra Mornay is delicious as she lustfully seduces Wilbur in comic form. She needs not his body but the brain of a simpleton to insert into the head of the monster.

The young man and the gorgeous woman make an odd comedic pairing because of their physical differences. However, their combination is just right for a physical, lightweight comedy.

The final scene is clever and leads to a potential follow-up for the film. As Chick and Wilbur sail away from the looming castle in relief of their adventure, coming to a satisfying conclusion, Chick ensures Wilbur that all the monsters are gone.

An uncredited voice appearance by Vincent Price and a dangling cigarette coming from no mouth introduce the next chapter of The Invisible Man.

Hardly a masterpiece or cinematic genius, Abbott & Costello Meet Frankenstein (1948) does entertain.

Each player is well-cast, resulting in a culmination of good comedy infused with atmospheric horror elements done with the perfect light touch. The comic timing of all members ensures that all the pieces come together in just the right mix of fun and frights with a tongue-in-cheek approach.

What better choice for the escapist fare on a lazy Saturday afternoon?

2018 Films, Comedy, Jon M. Chu, Michelle Yeoh, Romantic Comedy

Crazy Rich Asians-2018

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Crazy Rich Asians-2018

Director-Jon M. Hu

Starring-Constance Wu, Henry Golding

Scott’s Review #860

Reviewed January 26, 2019

Grade: B+

Crazy Rich Asians (2018), the romantic comedy smash of 2018 is a fun romp that is memorable because it centers on the Asian population, shamefully underrepresented in mainstream American cinema.

For this point alone, the film is recommended and worthy of praise but otherwise is a standard genre film with gimmicks and stock characters galore and a predictable conclusion.

A mention must be made for the numerous cultural tidbits included which rises the film above mediocrity.

Rachel Chu (Constance Wu) and Nick Young (Henry Golding) are a happily dating New York City couple, she is a New York University college professor, and he is an entrepreneur.

They fly to Singapore to attend Nick’s best friend’s wedding resulting in antics and anguish.  Rachel realizes that Nick comes from an extremely wealthy family and is Chinese royalty owning a multitude of lavish hotels and real estate.

Most of Nick’s family, especially his traditional mother Eleanor (Michelle Yeoh), disapprove of the pairing viewing Rachel as a typical American placing passion over family.

Nick is a sought-after commodity among the single women of Singapore as Rachel is forced to endure harassment and mockery at every turn. Her allies are Nick’s kind sister Astrid (Gemma Chan) and Rachel’s outrageous college pal Peik Lin (Awkwafina) and her equally garish family.

The plot thickens when Nick’s scheming mother does a background check on Rachel and discovers a family secret.

Crazy Rich Asians is a formulaic romantic comedy with the standard types of situations and characters expected of a genre film. The rivalry between the good girl and her boyfriend’s domineering mother, the comic relief of the gay sidekicks as Peik Lin and another friend of Rachel’s provide.

The caricatures of Peik Lin’s wild family, her unattractive brother fond of taking secret photos of Rachel, and Eleanor’s snooty judgmental circle of female friends are all well cast yet one-dimensional.

Perplexing is why the filmmakers decided to make Nick only half Chinese rather than authentically Asian. Sadly, this may have been a reassurance of making the film more marketable to mass audiences.

The film is presented as an Asian film, but it is an American film.

The storyline justification is that Nick’s father (surprisingly never seen) is British and that he and Eleanor met in college- only she being Chinese. Nick and Astrid’s English accents gnawed at me throughout the film.

Despite the myriad of cliches and manipulations Crazy Rich Asians have a nice flow and offer a fun two hours. The film is flavorful with bright colors and visual spectacles of the stylish and sophisticated Singapore and its modern and sleek nuances.

I adored the locales featuring the skyline and a rich overview of the robust and relevant city/country.

Fantastic is how the filmmakers add spices of traditional Chinese culture throughout the telling of the film quickly becoming more of an ode to the good history. Nick’s grandmother Su-Yi (Lisa Lu) takes pride in her wonderful and artistic flowers and Rachel is introduced to the art of dumpling making.

Crazy Rich Asians introduce a history lesson for those unfamiliar with ancient Chinese customs.

Flavorful inclusions of Mandarin Chinese language versions of American pop hits are also nice additions, so the film has some tidbits to revel in other than the story.

Most of the songs offer a reference to money such as “Money Honey” by Lady Gaga and “Rich Girl” by Hall & Oates.

The pacing of the film is nice with never a boring or dragging moment and a nice balance of comedy and drama results. Humorous is when Peik Lin provides Rachel with a costume makeover ensuring she looks dynamic for the grand wedding as she convinces her to fight Eleanor with fire.

Drama ensues when someone casts a dead fish on Rachel’s bed and Eleanor spits that Rachel will never be enough for her son.

Predictable is the film’s conclusion resulting in a marriage proposal aboard a jet heading from Singapore to New York City. With a film like Crazy Rich Asians, it is guaranteed that the couple lives happily ever after riding off into the sunset in great defiance of Nick’s roots.

Due to the success of the film a sequel is a solid bet though I am also not betting the follow-up will be any good. Are romantic comedy sequels ever decent?

Filled with cliches, but satisfying most mainstream film-goers, Crazy Rich Asians (2018) creates a film with enough shards of Asian culture to at least get the Asian population on the map with a Hollywood production.

Containing a polished look and some stereotypes the film breaks no new ground other than good inclusion and that is a start.

2003 Films, Bob Newhart, Children, Christmas, Comedy, Ed Asner, James Caan, Mary Steenburgen, Peter Billingsley, Peter Dinklage, Will Ferrell, Zooey Deschanel

Elf-2003

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Elf-2003

Director Jon Favreau

Starring Will Ferrell, James Caan

Scott’s Review #846

Reviewed December 20, 2018

Grade: B-

Elf (2003) is one of the few lasting Christmas hits of recent memory or at least one that many fans make a regular viewing experience each holiday season.

The film is light and unarguably a safe, feel-good experience mixing a hopeful Christmas message with comic gags and romance. The key to its success is Will Ferrell who possesses wonderful comic timing.

More wholesome than my tastes and lacking plausibility the film does succeed as a family-friendly, ready-made, fun experience.

The story revolves around one of Santa’s elves (Ferrell) named Buddy who learns he is human and was orphaned as an infant. Revealed that his biological father Walter (James Caan) resides in New York City, Buddy embarks on a trip to find the man and spread Christmas cheer in a world filled with grizzled and cynical human beings.

In predictable comic form, Buddy has trouble adjusting to the human world and the fast-paced lifestyle with misunderstandings arising repeatedly. Buddy eventually wins over his father and family finding love with downtrodden Jovie (Zooey Deschanel).

Hot on the heels of his Saturday Night Live stint ending in 2002, Ferrell was primed to embark on a successful film career. Elf is a great role for him as it capitalizes on his comic timing and energy and the setup works.

At 6’3″ who better to play an elf for laughs than a hulking middle-aged man?

Due to his talents, Ferrell makes the role of Buddy fun, appealing, and the highlight of the film. With a lesser talent, the character would have been too annoying (as it is there are too many hug jokes) and the overall film would have suffered.

Other than Ferrell the supporting roles are nothing memorable other than Caan’s part. The once dashing star of films such as The Godfather (1972) Caan still has the charm and charisma to appeal, though the balding and dyed head of hair does nothing for him.

A small role by television star Bob Newhart as Papa Elf is fine, but Deschanel’s role and Mary Steenburgen’s role as Emily, Walter’s wife, could have been played by many actresses and nothing is distinguishable about either part.

Lesser roles like Walter’s secretary, Walter’s boss, and Gimble’s store manager are stock parts with no character development.

A major high-point is the New York City setting and the exterior scenes are aplenty. Filmed in 2002 and released in 2003, the location shots were completed not long after 9/11, and showcasing a city with such recent decimation adds to the film’s appeal.

Scenes in Rockefeller Center, Central Park, and the Empire State Building are prominently featured making the film festive and merry.

What greater city is there at Christmastime than New York?

Elf remains an entertaining experience with enough shiny ornaments and fun moments in the department store and Walter’s office to hold interest. The luster wears thin at the conclusion as all the traditional elements come together.

Jovie leads a chorus of strangers in “Santa Claus Is Coming to Town”, Walter quits his job without concern for paying bills, and everyone happily rides off into a sparkling winter wonderland.

This may satisfy some, but I wanted more conflict than a troupe of Central Park Rangers chasing Santa through the park.

A film that might be paired nicely with holiday favorites of similar ilk such as National Lampoon’s Christmas Vacation (1989) or Christmas with the Kranks (2004), Elf is an energetic affair with a charismatic lead actor.

Containing silly moments, but a spirited and worthwhile message nestled nicely within, the film is worth a watch if in the mood for slapstick.

More thought-provoking holiday films with deeper merriment and stronger flair exist, but for a chuckle or two Elf (2003) works well.

2017 Films, Amy Landecker, Chloë Sevigny, Comedy, Connie Britton, Dark Comedy, David Warshofsky, Drama, Independent, Independent Comedy, Independent Drama, Jay Duplass, John Lithgow, Miguel Arteta, Salma Hayek

Beatriz at Dinner-2017

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Beatriz at Dinner-2017

Director Miguel Arteta

Starring Salma Hayek, John Lithgow, Connie Britton

Scott’s Review #844

Reviewed December 18, 2018

Grade: B+

Thanks to a well-written screenplay and a thought-provoking idea, Beatriz at Dinner (2017) spins an interesting concept about politics and class systems discussed over dinner.

Salma Hayek and John Lithgow give tremendous performances as characters with opposing viewpoints, helping the film succeed, though a flawed ending and cookie-cutter supporting characters detract from the overall enjoyment.

Set in southern California, presumably around Los Angeles, Beatriz (Hayek) is a holistic health practitioner. Moonlighting as a massage therapist, she becomes stranded at the wealthy home of one of her clients, Kathy (Connie Britton), whom she views as a friend.

Kathy invites Beatriz to stay for dinner, where she encounters real-estate mogul Doug Strutt (Lithgow). The two gradually develop a feud based on their differing politics and viewpoints.

The setup and flow of Beatriz at Dinner are commendable and pace the film nicely. The film is sort of a day in Beatriz’s life. It begins as the character awakens to her pet dogs and goat noisily beginning their day and culminates late at night when the dinner party concludes, and the last glass of wine is consumed.

This way, the film has a nice packaged feel that keeps the story confined and structured.

Being an independent film, the budget is small, and most scenes are shot in a spacious modern house overlooking the Pacific Ocean, which works well. Gorgeous and vast, many rooms are used as conversations among the characters occur, many overlapping each other.

Beatriz at Dinner could have been a play, which helps with the good flow.

Hayek and Lithgow are the main draws as their initial guarded pleasantries progress to venom and violence, albeit primarily imagined.

Initially thinking that Beatriz is the household help, Doug is inquisitive about her entry into the United States and makes numerous insulting gestures, mispronouncing her Mexican hometown and mocking her profession.

Beatriz calmly endures his racism and begins discussions about how his business harms animals and people as emotions escalate. The actors play off each other wonderfully and share chemistry.

With each glass of wine, Beatriz becomes brazen and shares how people in her village lost their land to real estate development. She shares a humanistic viewpoint, while Doug sees life as to be lived while you can.

Despite their dislike for each other’s lifestyles, the film shows Beatriz and Doug at least listening to each other and attempting to understand the other’s opinions, which is more than can be said for the supporting players’ motivations or lack thereof.

Besides Kathy, while sympathetic to Beatriz’s calm demeanor and life-rich philosophies, she also realizes that Doug is her family’s meal ticket.

The other party attendees are written as polite yet uninteresting twits with nothing to talk about except a reality star’s nude photos, dinner, or a handful of other nothing topics.

Chloë Sevigny, Jay Duplass, Amy Landecker, and David Warshofsky have little to do other than stand around and react to the meatier written material that Hayek and Lithgow get to play.

Beatriz at Dinner had me in its corner until the film took a jarring turn during the final act. As Beatriz leaves the party and sets about on her way home, she hastily decides to grab a letter opener and bludgeon Doug to death as the dinner guests hysterically realize what is happening.

Instead of leaving things be, the film chooses to make this only Beatriz’s fantasy and then have her go to the ocean and walk into the waves. Does this mean she commits suicide, or is this another fantasy? This final sequence is unclear and unsatisfying.

I am not sure why Beatriz at Dinner is considered a comedy. Perhaps a mild dark comedy, I argue that the film is a straight-ahead drama and lacks the witty humor that made dinner party-themed films such as Who’s Afraid of Virginia Woolf? (1966) and The Boys in the Band (1970) masterpieces.

Beatriz at Dinner (2017) is a valiant attempt at offering social commentary at a time when discussions like these are needed in films, and the project largely succeeds.

Hayek’s impassioned yet subdued performance deservedly earned her a Female Lead Independent Film nomination. The film’s rich writing garnered a Best Screenplay nomination, too, but a big whiff at the end lowers the overall experience a notch.

Independent Spirit Award Nominations: Best Female Lead-Salma Hayek, Best Screenplay

2018 Films, Comedy, Dark Comedy, Drama, Emma Stone, Independent, Independent Comedy, Independent Drama, Joe Alwyn, LGBTQ+ Comedy, LGBTQ+ Drama, LGBTQ+ Films, Olivia Colman, Period Drama, Rachel Weisz, Yorgos Lanthimos

The Favourite-2018

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The Favourite-2018

Director-Yorgos Lanthimos

Starring-Olivia Colman, Emma Stone, Rachel Weisz

Scott’s Review #843 

Reviewed December 17, 2018

Grade: A

The Favourite (2018) is a deliciously wicked comedy about greed, jealousy, and rage during early eighteenth-century England.

The primary rivalry consists of two feuding cousins, each jockeying for position and “favor” with the Queen, both resorting to dire methods to achieve these goals.

With splendid acting and grand designs, director Yorgos Lanthimos adds to his growing collection of odd and compelling works with the dark comedy offering.

The film takes place amid the British and French war of 1708 as a physically and mentally ill Queen Anne (Olivia Colman) rules the country by way of her confidante and secret lover, Sarah, Duchess of Marlborough (Rachel Weisz).

Though deals and modifications must be made with the ruling Parliament Anne has the final say in all decisions including doubling the state tax to pay for the war.

When Abigail (Emma Stone), a distant cousin of the Duchess, and former royalty herself, arrives seeking work as a servant, she quickly plots her way to the bedside of the Queen at all costs.

Lanthimos, known for such bizarre treats like Dogtooth (2009), The Lobster (2015), and The Killing of a Sacred Deer (2017), is not afraid to get down and dirty and wrestle with the macabre subject matter.

The Favourite is the director’s most mainstream affair yet and is quickly becoming one of my favorite modern-day filmmakers. As he now charters into royal territory the possibilities are endless in a world of politics and scheming.

Some morose highlights include an abused bunny, naked tomato throwing, and pheasant shooting.

The film is not kind to animals.

Despite being a mainstream affair in the world of Lanthimos, The Favourite is a bizarre and brazen experience. The heaps of award nominations are quite remarkable given the film will not be enjoyed by all audiences.

Despite being categorized as a comedy (see more below) the film is not an easy watch and none of the characters are likable. Abigail is sympathetic at first and quite humorous but as the plot develops her true colors and motivations are exposed.

Conversely, Anne and Sarah are initially despicable, but garner support as the story evolves.

The comic elements are the best elements and clever lines come at a deliciously rapid pace. The best dialogue is the sparring between Sarah and Abigail as the women realize they are bitter enemies and each attempt to one-up the other in a chess game for Anne’s attention.

Anne, known for fits of emotion, stuffing her face with cake and vomiting, and berating the servants, offers her comic wit. The language is salty bordering on vulgar, but that is what makes the experience so stellar and morosely enjoyable.

The musical score adds muscle and the diabolical string arrangements give The Favourite a gruesome, morbid atmosphere.

The feeling of dread is prevalent and downright haunting at times as the audience, knowing that some sort of shenanigans will soon occur, does not know when or how.

This quality enhances the overall product and gives ambiance to an already superior piece.

Finally, the acting in The Favourite is brilliant and worth the price of admission. With heavyweights like Colman, Stone, and Weisz this is unsurprising, but the gravy is in the individual moments.

The chemistry the women share is what works best as every scene sparkles with exceptional delivery and a sly sense of humor. When the three women appear together-these are the best scenes.

Deserving of all the accolades lauded upon it The Favourite (2018) is an experience that contains all elements of a fine film though one that is quite the unconventional work.

With glistening art direction, set pieces that shine with authenticity, and costumes that would make Scarlett O’Hara drool with envy, The Favourite takes all of its parts and spins a crafty tale that encompasses the entire film.

Oscar Nominations: Best Picture, Best Director-Yorgos Lanthimos, Best Actress-Olivia Colman (won), Best Supporting Actress-Emma Stone, Rachel Weisz, Best Original Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing

Independent Spirit Award Nominations: Best International Film

2017 Films, Aubrey Plaza, Billy Magnussen, Comedy, Dark Comedy, Elizabeth Olsen, Independent, Independent Comedy, Matt Spicer, O'Shea Jackson Jr., Wyatt Russell

Ingrid Goes West-2017

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Ingrid Goes West-2017

Director Matt Spicer

Starring Aubrey Plaza, Elizabeth Olsen

Scott’s Review #832

Reviewed November 16, 2018

Grade: A-

Ingrid Goes West (2017) is a deliciously wicked black comedy that boldly addresses the current obsession with social media.

Combined with a dynamite performance by young actress Aubrey Plaza and witty writing, the small independent film is a summertime treasure and has received two Spirit Award nominations.

The film is a breath of fresh air and a fine achievement by new director Matt Spicer.

The film immediately catapults the audience into the action as we are treated to a closeup of a sobbing Ingrid Thorburn (Plaza).

We immediately know that she is not well when she fumes with the realization that she has not been invited to her Instagram friend’s wedding and proceeds to interrupt the reception and attack the bride with pepper spray.

Ingrid is carted off to a mental hospital for analysis and recovery.

Once released, we learn that Ingrid’s mother has recently died, leaving her a tidy sum of money as an inheritance. Ingrid suddenly becomes obsessed with Taylor Sloane (Elizabeth Olsen), a popular and narcissistic young woman whom she follows on Instagram.

Taylor becomes Ingrid’s idol as she decides to move to Los Angeles and insinuates herself into Taylor’s life. She stalks Taylor and steals her dog only to pretend she rescued it, thereby becoming her close friend.

Gradually, Ingrid’s actions become more and more psychotic as Taylor catches wind of Ingrid’s antics.

Aubrey Plaza is perfectly cast as the unstable, manipulative title character. She possesses such strong comic timing, and with her wide eyes, nervous mannerisms, and determination to get what she wants, the audience roots for and falls in love with her.

On paper, we should dislike the character as she takes advantage of nearly everyone in her path, but Plaza embodies her with empathy and smarts. It is delightful to watch how she gets out of scrape after scrape with her quick thinking.

Plaza truly excels in the role.

Bold and calculating are words to describe Olsen’s performance as the selfish Taylor, and this may very well be why it is easy to root for Ingrid.

The character is so plastic and conniving that seeing her as the foil is intensely satisfying. Olsen usually plays good girl roles and possesses a girl-next-door quality, but in this part, she nestles nicely into a bitch role.

Olsen also uses excellent timing with her characters’ dialogue delivery, so much so that Olsen and Plaza had me in stitches during their one-on-one scenes.

I adore the Los Angeles setting. It is beyond appropriate for a film about phoniness, obsession, and plastic personas.

Beneath the sunny veneer lies darkness and tomfoolery in every direction, and besides Ingrid’s landlord/somewhat boyfriend, Dan (O’Shea Jackson Jr.), there are not many likable characters.

Attending party after party and lavish clubs, restaurants, or getaways, being involved in the “scene,” and the City of Angels is the perfect backdrop.

One gripe that knocks Ingrid Goes West down a rung is how the character of Taylor’s artist husband Ezra (Wyatt Russell) is written.

In one of the more authentic scenes, Ingrid realizes as she has a poolside heart-to-heart with the depressed Ezra that his wife is not the girl he knew when she moved to L.A. He and Ingrid seem to connect, but shortly after, it is as if the conversation never happened, and he is ferociously taking his wife’s side again.

A more admirable approach, and one I was hoping for, is that Ingrid and Ezra would ride off into the sunset, but the film misses this opportunity.

The entire film is a clever piece of work. From the performances to the dark humor and the witty dialogue, Ingrid Goes West (2018) succeeds on nearly all levels.

A modern-day Single White Female (1992) with a social media slant, the film goes for the gusto and gets there. I cannot wait to see more from up-and-coming star Aubrey Plaza, as the actress has the comic and dramatic chops to go very far.

Independent Spirit Award Nominations: 1 win-Best First Screenplay, Best First Feature (won)

1934 Films, Best Film of the Year, Best Picture Oscar Winners, Clark Gable, Claudette Colbert, Comedy, Frank Capra, Romantic Comedy, Walter Connolly

It Happened One Night-1934

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It Happened One Night-1934

Director Frank Capra

Starring Clark Gable, Claudette Colbert

Scott’s Review #824

Reviewed October 25, 2018

Grade: A-

Perhaps the film that best defines the early cinematic romantic comedy and certainly the one most modern genre films can learn from, It Happened One Night (1934) is a lively, fun romp.

The film carted away the Best Picture, Best Director, Best Actor, and Best Actress Academy Awards, a rare feat, and defined what romantic tension and thoughtful dialogue should be in a quality picture. All the elements sparkle into an excellent classic film watch.

Ellie Andrews (Colbert) is a pampered socialite who recently disobeyed her overbearing and wealthy father by eloping with a blue-collar pilot who is feared to be after her money.

Determined, Ellie escapes her father’s clutches and hops on a Greyhound bus headed from Florida to New York, where her husband is. When she crosses paths with an out-of-work journalist, Peter Warne (Gable), they each find an opportunity to use the other to their advantage.

The pair’s adventures along the East Coast lead to antics and schemes as they fall madly in love with one another.

It Happened One Night successfully mixes a good romance with some screwball comedy without ever becoming silly or trite.

The film also serves as a good old-fashioned adventure story as Peter and Ellie face one hurdle after another on their trek north.

Pleasing is how the duo slowly finds romance but first begins as irritants towards each other. The chemistry between the actors is superb and never seems forced or contrived.

Frank Capra, a famous director with successes throughout the 1930s, culminating with the holiday favorite It’s a Wonderful Life (1946), had several Oscar-winning films during the decade.

It Happened One Night seems to have inspired most of them, and the acting, absurd situations, dialogue, and direction all successfully come together.

Shot in black and white and the Motion Picture Production Code, which heavily restricted details deemed too violent or sexual, It Happened One Night pushed the envelope quite a bit.

This is to the film’s credit- who can forget the adorable yet provocative scene in which Ellie shows her shapely legs to enable the duo to catch a ride? The lovable scene, non-risque in today’s modern world, was anything but in 1934.

An interesting, at that time unique, point is that supporting characters are more layered than is typical in romantic comedies. Danker, whom Peter and Ellie hitch a ride with, is seemingly a decent man but ultimately attempts to steal their luggage.

Later, Ellie’s preposterous father turns out to be a decent man, so the film also contains a few character surprises.

While not quite a pure masterpiece, It Happened One Night (1934) is nonetheless an inspired legendary film that can be viewed and enjoyed for the period in which it was made.

The film stands out among the similarly themed romantic comedies of the 1930s and 1940s and is a teachable moment for all filmmakers who explore the same genre territory.

Oscar Nominations: 5 wins– Outstanding Production (won), Best Director (won), Best Actor-Clark Gable (won), Best Actress-Claudette Colbert (won), Best Adaptation (won)

2017 Films, Claes Bang, Comedy, Dark Comedy, Dominic West, Drama, Elisabeth Moss, International, International Comedy, International Drama, Michael Gracey, Ruben Östlund, Satire, Swedish

The Square-2017

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The Square-2017

Director Ruben Östlund

Starring Claes Bang, Elisabeth Moss

Scott’s Review #814

Reviewed September 28, 2018

Grade: B+

The Square (2017) is an eccentric, highly interpretive Swedish-language film that does not always make perfect sense, as a more mainstream film would.

This is both a positive and a negative, as the film’s ultimate message is admirable, though some parts are perplexing and downright bizarre.

The film was undoubtedly commended for its bravery and cutting-edge approach and received an Oscar nomination for Best Foreign Language Film—subsequently, it lost to A Fantastic Woman (2017).

The film’s primary setting is the X-Royal Art Museum in Stockholm, Sweden. The action centers mainly around the museum’s new creative director, Christian (Claes Bang), attempting to introduce a new installation called “The Square.”

A misunderstanding with a youthful public relations firm hired to make the exhibit as accessible as possible leads to controversy.

The film also interjects various subplots that are generally interesting but do not always make logical sense.

Bang is quite compelling in the lead role and the film’s best part for me. He is charismatic and a good father to his two daughters. He helps people experiencing homelessness- even going so far as to help a young woman when nobody else will, only to find his wallet stolen- an unfortunate victim of a scam.

Furthermore, Christian’s desire to create “The Square” is humane and admirable- a safe zone for trust and compassion. The character is a good guy but is also concerned with his status.

Common themes of satire and human beings’ natural hypocritical nature abound. For example, in one scene, Christian, proud to drive his flashy Tesla car and give money to the homeless, is afraid to be seen in a run-down apartment house.

Later, a man with Tourettes syndrome disrupts an interview at the museum and is looked down on by “open-minded people” as a result. The latter scene is quite amusing as the man erupts with various expletives at the most inopportune times.

My favorite sequence occurs approximately midway through the film. As bizarre as the scene, it is riveting in its momentum and bravery.

When a group of well-dressed museum members gathers for a lavish dinner to watch a human art show, a bare-chested man who only grunts emerges and slowly antagonizes guests.

He begins pulling one woman’s hair while chasing an angry man from the hall. This scene is shocking, intense, and thought-provoking.

But what the scene means is perplexing.

A treat for me was viewing the famous Stockholm museum’s frequent interior and exterior scenes- which I was privy to have visited in 2016.

This experience was so fresh that it brought back wonderful memories of not only the museum but also the gorgeous city of Stockholm itself.

The chemistry between Christian (who is Swedish) and an American reporter, Anne (Elisabeth Moss), does nothing for the film. It feels wholly disjointed and unnecessary, and there is little connection between the two characters.

Engaging in a one-night stand, the duo has a dispute about a used condom. Does Christian think that Anne is desperate enough to use his sperm and impregnate herself? The resulting spat between the two seems meaningless.

The Square (2017) is a very tough film to review.

Oftentimes disjointed and impossible to make heads or tails of, one would be wise to simply “experience” the film on its own merits. I am not sure.

I mainly need to view it again and try to figure out the plot because I am uncertain if that was the intent of director Ruben Oslund.

Having directed the wonderful Force Majeure (2014), a more straightforward and superior film, The Square is worth a watch in its own right.

Oscar Nominations: Best Foreign Language Film

1999 Films, Alyson Hannigan, Casey Affleck, Chris Klein, Chris Weitz, Comedy, Eugene Levy, Jason Biggs, Jennifer Coolidge, Mena Suvari, Natasha Lyonne, Paul Weitz, Seann Williams Scott, Tara Reid

American Pie-1999

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American Pie-1999

Director Paul Weitz

Starring Jason Biggs, Alyson Hannigan

Scott’s Review #813

Reviewed September 23, 2018

Grade: B+

With each generation of film, there seems to be a gross-out comedy that speaks to a young, coming-of-age generation- of the mostly male and jock persuasion.

American Pie (1999) finishes the 1990s strongly with a raunchy story that feels fresh and genuinely funny with precarious situations facing the cast, specifically the protagonist and “everyman”, played by Jason Biggs.

The film is a teen sex comedy of the crudest nature yet engulfed with characters audiences like- not mean-spirited, but rather fun-loving and endearing.

An enormous box office hit at the time, the film was all the rage and brought tawdry new meaning to the Americana staples of apple pie and band camp.

Spawning several sequels throughout the next decade, the franchise successfully brought back the teen comedy genre with strong and highly recognizable characters.

American Pie also brought back the fun to R-rated films and put a nice cherry on top of a creative decade in cinema. The film is not high art, but what it aims to do, it does quite well.

Living a middle to upper-middle-class existence in the suburban USA (presumably Michigan), five high school seniors make a pact to lose their virginity by the time they graduate. Most of the group are nerdy, insecure, and sexually naive, the central character being Jim Levenstein (Biggs).

Most events are taken from his point of view and he is continually advised by his very nerdy father, Noah (Eugene Levy).

The setup is an age-old premise with lots of room for jokes and precarious situations in hilarious form. As Jim has the hots for a sexy foreign exchange student, Nadia, she is out of his league.

In a hilarious scene, a “warm apple pie” incident leads to a webcam setup attempt to watch Nadia change clothes. When events go amiss everyone gains access to the webcam link, and Nadia is sent back to Czechoslovakia in shame.

This leads to a new pursuit for Jim, in geeky band camp girl, Michelle (Alyson Hannigan). Surprisingly, they fall madly in love and have fantastic chemistry.

Some of the supporting characters add energy and sometimes hilarity. Jennifer Coolidge is great as the mother of Stifler (the jock of the group), who has eyes for younger men, specifically Finch.

As they finally consummate their relationship on a basement pool table, Stifler walks in at the worst time and faints in horror. These antics are genuine and fresh, with great acting by all principals.

Coolidge, Hannigan, and Levy are arguably the best secondary characters. Each, in a different way from the others, provides comic relief by crafting interesting nuances to the characters.

Levy, as Jim’s father, is well-meaning, yet bumbling. Every teen cringes at the thought of having a father like Noah, yet the pair share a close bond and a classic father-son relationship, so the character is therefore enamoring.

American Pie was successful at coining new pop-culture phrases such as “warm apple pie”, “milf”, and “this one time in band camp…” that the young generation of the time (myself included) enjoyed giggling over and repeating in glee.

The film set the tone for other similar genre films, but none of them lived up to the chemistry and the charm that American Pie had. This film was better than it ever should have been!

The turn-of-the-century version of Animal House, American Pie (1999) introduces a new generation of young people into the world of comedic, R-rated, raunchy fun. Films like this have been churned out by the numbers, but rarely any are as authentic as this film feels.

The franchise was able to sustain its popularity with well-written sequels, most notably American Pie 2 (2001), which developed the situations more, but the original is a fine blueprint for what good comedy can achieve.

1999 Films, Comedy, Dark Comedy, Gary Cole, Jennifer Aniston, Ron Livingston, Stephen Root

Office Space-1999

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Office Space-1999

Director Mike Judge

Starring Ron Livingston, Jennifer Aniston

Scott’s Review #811

Reviewed September 16, 2018

Grade: B+

Having become somewhat of a cult classic since its theatrical release in 1999, Office Space is delightful to watch for anyone who works in a corporate environment- or ever has- they will undoubtedly “get” this movie.

The dark humor and antics may be lost on those who have not, but for the rest of us, the film is quite the treat.

One may never view a stapler or the common office cake party in the same manner. Yes, the story and characters are somewhat over-the-top but more than a few clever scenes ring with truth.

But over time will the film become dated?

Writer and Director, Mike Judge, tells a story about life within a 1990s software firm.

Reportedly, the story is based on Judge’s cartoon series Milton, and his first foray into live-action filmmaking. His first film was Beavis and Butt-Head Do America (1996) if this gives any indication of the type of humor that resounds. Fraternity boy-minded, yes, but the writing is crisp and oftentimes rife with fun.

The film was not a box-office smash at the time of release yet is well-regarded by critics.

Peter Gibbons (Ron Livingston) is a frustrated IT programmer who works for a company named Initech. Alongside two colleagues, one of whom is comically named Michael Bolton (not that Michael Bolton), they despise their sneaky boss, Lumbergh (Gary Cole).

The situation gets worse when two consultants are brought in to downsize the company, leaving everyone in panic mode.

After a failed hypnotherapy session Peter becomes relaxed and confident, even winning praise from the consultants and scoring a promotion. This puts him at odds with Lumbergh, especially after he begins dating a waitress, Joanna (Jennifer Aniston), and assumes she has also slept with him.

Office Space shines the most with the crackling dialogue and clever scenes that take place within the confines of the office. With stuffy cubicles for miles and the standard corporate jargon to make into witty lines, the subject matter is ripe for the picking.

With Cole’s sly requests for his employees to work weekends, Judge creates authenticity and freshness that is incredibly appealing to corporate workers. He successfully knocks down office politics with intelligent, wisely crafted, memorable satire.

In the supporting role of Milton Waddams, character actor Stephen Root is successful at stealing the show with his mumbling and bumbling character. Nearly invisible to all his colleagues, Milton is eventually moved to a basement desk and left out of the cake party.

When somebody borrows his prized red stapler, all hell breaks loose. Increasingly disgruntled, Milton’s fate is instrumental to the hilarious conclusion of the film and he ultimately gets his revenge satisfyingly to all.

The romantic element between Peter and Joanna is okay, but not at all the highlight of the film. The romance seems unnecessary to me but undoubtedly added since comedies of this sort usually require something heartfelt to appeal to mainstream audiences.

Aniston, popular at the time for her role on the television show Friends, was on her way to becoming a marquee movie star, but not quite yet, so she must be content with the standard “girlfriend” role.

She’s cute, but hardly anything more.

Office Space is a fun ride, but the film is not a groundbreaking experience in great film techniques, inventive ideas, or any other technical or story achievements.

What it offers to fans, it does very well and feels like a breath of fresh air in its genre.

The film is a comedy, but not a dumb comedy as a myriad of similar style offerings have been released since the beginning of cinema. With witty one-liners and comic gold, Office Space (1999) is a film to be remembered.

2018 Films, Comedy, Elizabeth Banks

The Happytime Murders-2018

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The Happytime Murders-2018

Director-Brian Henson

Starring-Melissa McCarthy, Maya Rudolph

Scott’s Review #808

Reviewed September 6, 2018

Grade: B-

Considered by some to be the worst film release of 2018, I had nary a positive expectation as I walked into an empty movie theater.

In truth, The Happytime Murders is not that bad, more in tune with a fun, adult-humored late-night affair. The greatest assets are the comic talents of Melissa McCarthy and the neat whodunit that is the central part of the story.

The human actors acting opposite puppets are a bit bizarre and take some getting used to, but the nice editing (not easy at all to do!) is to be commended.

Set in modern times, in the underbelly of Los Angeles, puppets live alongside humans and are not treated well- constantly bullied and thoughtless of.

Sarcastic and angry puppet, Phil Phillips (a nod to the American Idol winner?) works as a private investigator, an incident many years ago causing him to be booted from the LAPD police force forever.

When Phil is hired by a sexy blonde female puppet, Sandra, to find out who has been sending her blackmail letters, he stumbles upon a rash of puppet murders.

The killer is knocking off members of a 1980’s television show, presumably for profit. Phil’s brother and grizzled ex-partner, Connie Edwards (McCarthy) become central to the story.

The first dynamic that works well in The Happytime Murders is the “chemistry” between Connie and Phil. Surprising is the connection and good rapport considering the human/puppet factor.

One might find that surprising that the two characters play well off of each other, but their adult sparring and frequent vulgar language name-calling is oodles of fun to watch. McCarthy is always fantastic with comic timing so fans of hers will not be disappointed. As they shout vulgar “pleasantries” to each other one cannot help but smirk.

Maya Rudolph has an interesting role as secretary to Phil. Named Bubbles, she is sexy, sultry, and coquettish- an unusual role for Rudolph, but she pulls it off in spades.

Otherwise, Elizabeth Banks cast in the small role of Jenny, Phil’s blonde ex-girlfriend is entertaining. Phil, despite being a puppet is quite the lady’s man with Sandra (a nymphomaniac) being his main conquest.

In one lewd scene, Phil beds her right in his office spewing strands of white goo meant to be semen and Sandra exposing her purple pubic hair.

The film is clearly for adults only and hopefully, unwitting parents do not mistake the puppet characters for a kid’s film. The film contains many scenes bordering on X-rated territory, yet the inclusion of puppets undoubtedly gives off a humorous, not to be taken too seriously element.

Handsome Joel McHale as a Special Agent on the case along with a Lieutenant, Connie’s superior, makes it clear the characters are along for the comic ride and the film never takes itself too seriously.

I admittedly had low expectations to begin so I was surprised to find myself enjoying the puppet characters most of all and the rapport between them. Phil, charismatic in a Dick Tracy sort of way balances with the other “over the top” puppets including a drug lord, two puppet prostitutes, and a puppet bunny addicted to porn.

The creations are lively and unique.

Let’s not get carried away though- The Happytime Murders is not the genius that Who Framed Roger Rabbit? (1988) is, but its crass nature is of some appeal.

I adored the Los Angeles setting as the sunny locale perfectly counter-balanced the murderous antics of a hooded killer. The big reveal I did not see coming added to the surprise factor for me.

To summarize, The Happytime Murders (2018) is not a work of art or anything particularly spectacular.

Presumably, it will be a forgotten film, especially since McCarthy is appearing in another “more serious” film in 2018 named Can You Ever Forgive Me? with enormous Oscar potential. Therefore, the focus will assuredly be on that film.

But a work like The Happytime Murders does have its place as perhaps a fun late-night offering.

2001 Films, Comedy, Jennifer Coolidge, Linda Cardellini, Luke Wilson, Oz Perkins, Raquel Welch, Reese Witherspoon, Romantic Comedy, Selma Blair

Legally Blonde-2001

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Legally Blonde-2001

Director Robert Luketic

Starring Reese Witherspoon, Luke Wilson

Scott’s Review #807

Reviewed August 30, 2018

Grade: B+

Legally Blonde (2001) is a film that by all accounts should have been a hot mess, but for some reason is a great ball of fun. High art it ain’t by any means, and the plot is implausible beyond belief, and suspension of disbelief must be securely tucked away.

Despite portraying more serious roles both before and after this film, Reese Witherspoon is largely responsible for the success and is closely associated with this role.

Quite simply, all the elements manage to align with perfection in this film.

Elle Woods (Witherspoon) is president of her sorority at a Los Angeles college. Clad in fluffy pink attire and carrying her cute dog everywhere she goes, she epitomizes the stereotypical “dumb blonde”.

However, she does carry a 4.0 grade point average in fashion.

Expecting a marriage proposal from her upper-class, snooty boyfriend, Warner, Elle instead finds herself dumped due to not being serious enough.

Determined to prove herself worthy, she manages acceptance into Harvard Law School, along with Warner, and embarks on hi-jinks and adventures.

Warner’s fiancee and a potential new love interest cause turmoil for the boisterous Elle.

Legally Blonde never takes itself too seriously and is simply a fun, silly-minded, comic adventure. Audiences will likely chuckle and smile along with Elle’s adventures as she gets into one pickle after another, always determined to prove her intelligence.

To be clear, the film itself is very formulaic and could easily have been trivial and uninspired resulting in a bomb. But Witherspoon shines in the lead role adding a likable, charming quality to the character.

The actress possesses great wit and comic timing so that her character becomes more of a champion and we root for her to overcome obstacles and succeed.

By miles, she is the standout in the film.

Suspension of disbelief is at an all-time high. In “real life” there is no way Elle would ever make her way into the elitist Ivy League school brandishing a pink resume or other silly tricks to be cute and appealing.

Nor would she ever likely be so instrumental in winning a murder case so quickly. To nobody’s surprise, Elle eventually graduates with flying colors and is honored with giving a graduation speech inspiring those around her.

But as implausible as these situations are, they are also Legally Blondes’ appeal.

The supporting characters are pure caricatures, especially the main foils (Warner and Vivian- who take Elle’s place as fiancee). Both are the villains, Vivian going so far as to embarrass Elle by inviting her to a stuffy party under the guise of it being a costume party.

In the end, one of the characters “turns good”, another common element of predictable films of this nature. But again, the film is just pure and simple fun, so these stereotypes are okay.

In more modern times (not that 2001 was so long ago), the film would have not been directed by a man, but rather by a woman.

Screenwriters Kirsten Smith and Karen McCullah Lutz prepared a female-driven film that was based on a novel by Amanda Brown.

Why a man was chosen to direct is beyond me, but, alas, this is the way things were at the time.

Interestingly, another recent film that I reviewed, My Big Fat Greek Wedding (2002) would work perfectly as a now retro romantic comedy double feature along with Legally Blonde (2001).

Both are fun and light but also celebrate strong female characters.

Legally Blonde borrows much from the 1995 brilliant similar genre Clueless but is not as great as that film. Still, the film is an inspired effort due largely to the charms of its lead star.

2002 Films, Andrea Martin, Comedy, Independent, Independent Comedy, Independent Romantic Comedy, John Corbett, Lainie Kazan, Nia Vardalos, Rita Wilson, Romantic Comedy, Tom Hanks

My Big Fat Greek Wedding-2002

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My Big Fat Greek Wedding-2002

Director Joel Zwick

Starring Nia Vardalos, John Corbett

Scott’s Review #806

Reviewed August 28, 2018

Grade: B+

My Big Fat Greek Wedding is a romantic comedy from 2002 that became a surprising sleeper hit at the time of release. A novel story idea, the film was even recognized with a Best Original Screenplay Oscar nomination.

The film achieved success the old-fashioned way by garnering word-of-mouth buzz despite little promotion.

Good-natured, earnest, and tender, the film was nonetheless marred by an abysmal sequel and short-lived television series- a lesson learned in leaving well enough alone.

Comedian Nia Vardalos reportedly wrote the story as a one-woman play and word of mouth among Hollywood A-list celebrities led to a film version starring Vardalos herself. This casting choice adds enormous authenticity as the writer’s vision shines through on-screen.

The film has a fresh and modern feel to it. Otherwise, the supporting cast is brilliant and perfectly selected. From handsome love interest John Corbett to veterans like Lainie Kazan and Andrea Martin, everyone plays their part to the hilt and seems to be having a ball with the comic elements.

Dowdy Toula Portokalos is a lonely thirty-year-old Greek woman, considered the black sheep of her family. Of traditional roots, she is expected to marry and bear children as quickly as possible.

Toula still lives at home and works in the family restaurant in bustling Chicago, yearning for something more out of life.

When she sees dashing school teacher Ian Miller (Corbett) in the restaurant one day, she makes an embarrassing attempt to catch his attention. Through a computer class, Toula blossoms and finally lands her man, but the drama is just beginning as the couples and their individual families’ differing cultures collide.

My Big Fat Greek Wedding is written very well and, again, the authenticity is what shines through in each scene. Admittedly, it often feels like a television sitcom and many scenes play for obvious laughs, but the laughs work. The funniest of these scenes is when Toula and Ian (now engaged) decide to invite his parents to dinner at her parent’s house.

Predictably, events go awry as his parents-conservative and reserved, do not mesh well with hers-festive and bombastic.

Vardalos and Corbett may not have the greatest chemistry in film history, but the build-up and the romance are so charming that we can overlook the lack of lustful vigor or the sexual tension between the pair.

The film feels more like a PG-rated Cinderella story than anything heavier. Predictably, the couple shares a happily-ever-after ending.

As much of a jewel as My Big Fat Greek Wedding was in 2002, the risk with a film of this nature is to hold up well over time. Specifically, in the romantic comedy genre, films of this ilk have a short relevant shelf-life (if deemed relevant at all).

The humorous Windex references may be lost on audiences over time or just become stale over the years.

Some can deem My Big Fat Greek Wedding (2002) as fluff- mainly based on the romantic comedy genre it exists in. But it’s of better worth than that, mainly because of the fresh and genuine use of culture and differing backgrounds.

The film has a quality that most of the standard “rom coms” do not possess, that of authenticity. Yes, it contains Greek stereotypes, but the overall vibe of the film is that of a sunny, fun, happy experience.

An uplifting film can sometimes be just what the doctor ordered.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Debut Performance- Nia Vardalos (won)

2005 Films, Burt Young, Comedy, Drama, Felicity Huffman, Graham Greene, Independent, Independent Comedy, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

Transamerica-2005

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Transamerica-2005

Director Duncan Tucker

Starring Felicity Huffman, Kevin Zegers

Scott’s Review #795

Reviewed July 25, 2018

Grade: A

Transamerica (2005) is a brave and topical independent drama effort. By 2005 the LGBT genre was in full force with a multitude of similarly themed films gracing silver screens everywhere.

One prominent mainstream production (Brokeback Mountain-2005) was in theaters everywhere. So in a year celebrating diversity, how wonderful and touching to witness a film focused on a transgender woman come into play.

Mixing drama with some needed humor, the film succeeds in large part because it does not take itself too seriously, never becoming too preachy, it merely tells a story. The film’s brilliant casting of Felicity Huffman in the role of a pre-op male to a female transsexual is a success as the decision to cast a female rather than a male in the important role pays off in spades.

The premise allows for a story of both adventure and humor as the film mixes an important issue.

A transgender woman, Bree (Huffman) decides to go on a road trip with her long-lost son, Toby (Kevin Zegers). The intrigue is that Toby is unaware that Bree is both transgender and his father, the fun coming by way of the relationship between the individuals. Adding to the setup is that a week before Bree’s scheduled operation, she has no idea who Toby is.

Encouraged by her therapist, Bree decides to throw caution to the wind and travel to pick up her son- however, does not realize that Bree (being transgender) is his real father. Talk about complicated material!

I love the overall message of the film; the theme being one of self-discovery and a personal journey toward happiness. These qualities do not only apply to Bree but also to Toby. Being a teenage boy, abused and neglected, he has his share of issues, which the film does not skirt over.

The areas of male prostitution and gay porn are featured and the film does its best not to shy away from these sensitive matters.

Therefore, even though the tone of the film is light and more of a coming-of-age story, there are underlying painful emotions suffered by the characters. This makes their bonding easier and more fulfilling.

Without a doubt, the film belongs to Huffman, who was honored with a Best Actress Oscar nomination. No offense to that year’s winner (Reese Witherspoon for Walk the Line (2005), but the rightful owner of the statuette should be Huffman.

The actress simply comes out of nowhere and slays this role. Known for playing a different type of role on the hit television series, ABC’s Desperate Housewives, Bree is in a different league entirely.

Huffman possesses strength, vulnerability, and sarcasm, while physically undertaking a transformation that makes her both feminine and masculine while not becoming a “joke.” All of this she pours into the character.

Transamerica (2005) is an unconventional film that on the surface feels mainstream, like many other road trip films made over the years. With a twist and thus a breath of fresh air considering the importance and relevance of the time-released, the film should be championed.

When combined with the tremendous performance by Huffman, the film is a heavyweight and should be viewed and celebrated for its influence.

Oscar Nominations: Best Actress-Felicity Huffman, Best Original Song-“Travelin’ Thru”

Independent Spirit Award Nominations: 2 wins-Best Female Lead-Felicity Huffman (won), Best First Screenplay (won), Best First Feature

2011 Films, Ben Falcone, Chris O'Dowd, Comedy, Jill Clayburgh, Jon Hamm, Judd Apatow, Kristen Wiig, Maya Rudolph, Melissa McCarthy, Paul Feig, Rebel Wilson, Romantic Comedy, Rose Byrne, Terry Crews

Bridesmaids-2011

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Bridesmaids-2011

Director Paul Feig

Starring Kristen Wiig, Maya Rudolph

Scott’s Review #784

Reviewed July 6, 2018

Grade: A

Despite the raunchy romantic comedy genre not being my favorite, and despite not being such a fan of Judd Apatow (famed producer of several of these types of films), Bridesmaids (2011) is easily the best of its kind.

Influential in a multitude of female empowerment-themed comedies that followed, this one is witty, genuine, and funny because of its star, Kristen Wiig, who also co-wrote the film.

It is one of the best comedies (if not the best) of the decade.

Apatow is largely known for producing comedy films that mix in the standard potty humor for cheap laughs. He is responsible for This Is 40 (2012) and Trainwreck (2015), both of which I found moderately funny, but needlessly gross-out and tired.

My point is that minus the talents of Wiig (both in front of and behind the camera), Bridesmaids would likely have been mediocre like these films. Instead, Bridesmaids is a wonderful, uproarious experience with a star who captures a moment.

My one gnawing gripe is that shouldn’t a film about women be directed by a woman?

Annie (Wiig) has been asked to serve as the maid of honor at her best friend, Lillian’s (Maya Rudolph), upcoming wedding. Rather than be thrilled, Annie is depressed due to an ongoing string of bad luck.

Her bakery business fails, she loses her unfulfilling job at a jewelry store, she is dating a jerk (Jon Hamm), and her car is about to die. She has difficult roommates and is on the verge of having to move back in with her mother at age thirty-five.

The story hilariously follows Annie’s rivalry with Helen (Rose Byrne), Lillian’s soon-to-be husband’s boss’s controlling wife. Helen is intent on taking over the handling of the wedding events much to Annie’s chagrin.

The ladies compete to one-up each other throughout the film- Rose is the perfect princess for Annie’s grit and cynicism.

Annie struggles through her issues, unhappy with the state of her love life, when she meets police officer, Rhodes (Chris O’Dowd), and they begin a tender friendship. However, their attraction is tested because of Annie’s shenanigans.

Annie must then fly to Las Vegas with the other bridesmaids despite being terrified of flying.

Despite the story being nothing not seen dozens of times before in romantic comedy history (the setups), the film is a laugh-out-loud riot. In addition to Wiig, Rudolph, and Byrne, the remaining cast of ladies all have tremendous chemistry with each other.

Special kudos go to Melissa McCarthy in her fearless role of Megan, a tomboy misfit who somehow is part of the wedding party. With her “tell it like it is” attitude the actress sinks her teeth into this fabulous role without taking her too far across the line into ridiculousness.

In rip-roaring fashion, multiple scenes are permanently etched in my mind.

After Annie suggests a Brazilian steak restaurant for lunch followed by a fitting at a chic dress shop, the girls suffer from food poisoning. This results in torrents of diarrhea scenes and one unlucky character being reduced to going to the bathroom in the middle of the street.

The scene while super raunchy is hilarious and fraught with perfect comic timing.

Not to be outdone, the airplane scene is equally tremendous, however, the scene belongs to Wiig rather than the entire ensemble. Being forced to fly coach while everyone else is treated to first-class, Annie unwisely accepts a pill from Helen to calm her during the flight.

Instead, Annie becomes belligerent and wild when she mixes the sedative with alcohol.

As good as the supporting cast is, Wiig owns the film through and through. Every scene she is in and each line she utters is perfectly timed. The fact that Wiig did some improvisation (the scene in the jewelry store) is evident and only adds to the genuine feel of the film.

Subsequently, to Wiig’s credit, she has been careful to choose more complicated roles to avoid the risk of being typecast. And a sequel was wisely never made- this would have ruined the appeal.

Bridesmaids (2011) is an authentic story rich with hilarity and crisp dialogue. The film is enhanced in that it’s a female-centered film written by women (though the direction and producers too would have been better).

Because of the tremendous cast led by Wiig, the film is blazing with humor and led a firestorm of similar “girl power” films (mostly bad) well into the decade.

Oscar Nominations: Best Supporting Actress-Melissa McCarthy, Best Original Screenplay

2017 Films, Adam Scott, Alison Brie, Ari Graynor, Biography, Bob Odenkirk, Bryan Cranston, Comedy, Dave Franco, Drama, J. J. Abrams, Jacki Weaver, James Franco, Jason Mitchell, Josh Hutcherson, Judd Apatow, Keegan-Michael Key, Kevin Smith, Kristen Bell, Lizzy Caplan, Megan Mullally, Melanie Griffith, Seth Rogen, Sharon Stone, Zac Efron, Zoey Deutch

The Disaster Artist-2017

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The Disaster Artist-2017

Director James Franco

Starring James Franco, Dave Franco

Scott’s Review #781

Reviewed July 2, 2018

Grade: B

The Disaster Artist (2017) is a biography-comedy that I found to be middle of the road to primarily good if I’m judging in overall terms- most I liked with a bit of criticism.

Due to the many accolades, I confess to having anticipated a bit more from the finished product and hardly finding it a masterpiece.

Still, I was both impressed and unimpressed by James Franco’s performance in the lead role. I was awed at the actor’s emergence as a director, and the Los Angeles setting is great.

At times the film teeters almost into bad slapstick or shtick, and a bit silly, and as much as I respect his performance, this criticism is directed at Franco. Nobody can deny his acting talent if he chooses the right films.

His attempt to make his character peculiar is noticeable within seconds, so it seems Franco also makes him a bit of a goof, and I was not able to take the character seriously all of the time.

And the weird accent threw me.

This film is based on the nonfiction book The Disaster Artist. The book chronicles the making of 2003’s The Room, not to be confused with the 2015 film Room. The Room was considered amateurish and one of the worst movies ever made.

Told repeatedly that his acting stinks, oddball Tommie Wiseau (James Franco), a European-American aspiring actor, decided to screw Hollywood and produce, direct, and star in his film.

Wiseau has an endless amount of bank funds, which he uses towards the film. Roommate and friend Greg Sestero (Dave Franco) stars in the movie and thus gets his big break. The duo and various others pitch in to create the project, which suffers from ineptness on the part of Wiseau.

The Los Angeles setting resonates with me, as does the recurring theme of struggle in the Hollywood scene. These are significant pluses of the film as a whole.

Los Angeles can appear to be a sunny and glamorous town, but beneath its shiny exterior, it always has a gloomy, dark underbelly.

The film realistically depicts struggle and success, from the central characters to the supporting players, making it resemble an ensemble.

Thousands struggle daily for a break, and no respect or appreciation is given. The Disaster Artist scores a win by focusing on this.

When Tommie brazenly approaches an influential producer in a restaurant, he is unceremoniously dismissed for having no talent and told he will never get anywhere. In addition to Tommie, several actors associated with the film struggle.

In a fantastic scene, an older actress states that being on a bad movie set beats any other job by miles. The message here is that people in Hollywood are there because they genuinely love it.

The sweet, empowering theme of friendship and empowerment is also to be celebrated, especially given the cutthroat backdrop. Tommie and Greg are best friends and have each other’s backs through thick and thin.

Neither gives up on the other, even during the initial audience reaction to The Room premiere.

Could the film have been slightly darker? Yes, indeed, as very few scenes of drug destruction or the porn that many hopeful talents turn to are mentioned. But the film is not about that. It’s an enchanting tale of hope and fun.

It is interesting to note, and not evident to me while watching the film, that brothers James and Dave Franco play opposite one another. While there is somewhat of a physical resemblance, the chemistry works between the two actors as best friends.

James delivers a worthy portrayal of an unusual character with a strange dialect, long, stringy brown hair, and seemingly cross-eyed. The role is comedic and ideally suited for an unusual actor like Franco- he must have had a ball with the part.

Movies about movie-making always fascinate me. What goes on behind the scenes?

The Disaster Artist (2017) provides enough good film meat to make it an overall good experience. It stays true to some fine Hollywood history—the famous James Dean is referenced, and the spot where he died is even visited—nice touch! Franco is both good and disappointing in the main role.

All in all, this one is worth watching for those who enjoy filmmaking, Hollywood, or L.A.-set films.

Oscar Nominations: Best Adapted Screenplay

Independent Spirit Award Nominations: Best Male Lead-James Franco

2017 Films, Ava DuVernay, Comedy, Common, Jada Pinkett Smith, Lowest Rated Films, Malcolm D. Lee, Mariah Carey, Queen Latifah, Regina Hall, Tiffany Haddish

Girls Trip-2017

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Girls Trip-2017

Director Malcolm D. Lee

Starring Regina Hall, Queen Latifah, Jada Pinkett Smith

Scott’s Review #760

Reviewed May 18, 2018

Grade: D-

I am genuinely baffled by some of the positive reviews of the film Girls Trip (2017) by viewers and respected critics.

Attempts to make females as raunchy as the guys in R-rated comedies never work, in my opinion (good writing does!), and the result is a largely unfunny, crude piece of drivel.

The fact that the film, which goes for a “female empowerment” theme, is directed by a man is as disappointing as disrespectful, especially given the fact that the writers are female- they couldn’t find a black female director?

At the risk of giving a testimonial, I fully know the importance of creating good female roles in cinema-perfect female black roles.

Unfortunately, the roles in Girls Trip do nothing to further the cause as tried and true, standardized parts commence with no well-written character to be found.

Modern films look to Black Panther (2018) or Hidden Figures (2016) as examples of positive black female role models- they exist!

The weak plot involves four forty-something lifelong friends who regroup for a reunion after years apart. Famous lifestyle guru Ryan Pierce (Regina Hall) decides to take her “Flossy Posse” to a music festival in New Orleans, where they will spend the weekend partying like it’s the 1990s once again.

Ryan is married to a man who cheats on her, Sasha (Queen Latifah) runs a failing gossip site, Lisa (Jada Pinkett Smith) is a divorced, overbearing nurse, and slutty, aggressive Dina (Tiffany Haddish), who has just been fired from her job.

In predictable form- think 2009’s The Hangover or a multitude of other raunchy comedies since then, the girls get into trouble, drink too much, have sex, and partake in other hi-jinks throughout the weekend.

The central plot is Ryan’s potential investment deal with rigid and uptight Bethany (Lara Grice) and a wisecracking agent. As events unfold, Ryan’s female nemesis shows up to cause trouble and stir up drama, testing the group’s patience.

Girls Trip is a typical American comedy film (not a compliment!) that offers weak writing and instead promotes stereotypical stock characters.

Many similar comedies have come before it, and many more will come after it. Since I disliked the film so much, I decided to ask myself a few rhetorical questions as I observed the mess.

In films with a group of women, why is there always a slutty one (Dina)? Why is there always a mousy one (Lisa)? Why is there always a fat one (Sasha)? Why is it deemed funny to watch women pee or suffer bathroom issues?

The only positives to Girls Trip come in one humorous scene when Dina mixes absinthe into the girls’ drinks before a meeting, causing them to hallucinate. As the girls begin to imagine themselves talking in deep baritone voices and Ryan imagines a waitress is her arch-enemy, the hilarity briefly ensues.

A quick wrap-up speech by Ryan after the film does send a nice message about being yourself and staying true to your loved ones, but why we have to suffer through two-plus hours of crap to get to the inspiration and point of the film is beyond me.

The success of Girls Trip (2017), which will inevitably produce a sequel, leads me to believe that the masses prefer their films idiotic, redundant, and fraught with cheap, crude laughs.

The film seems to be intended to push the envelope—not to create great art, but just to make the film as crass as possible. This is presumably to prove that girls can be as nasty as boys, which the film succeeds at portraying.

1985 Films, Ally Sheedy, Comedy, Emilio Estevez, Independent, Independent Comedy, John Hughes, Judd Nelson, Molly Ringwald, Paul Gleason

The Breakfast Club-1985

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The Breakfast Club-1985

Director John Hughes

Starring Judd Nelson, Molly Ringwald

Scott’s Review #755

Reviewed May 8, 2018

Grade: A

The Breakfast Club (1985) is one of the most beloved films of the 1980s and perfectly captures being a teenager during this time.

Containing both innocence and authenticity rarely found in films targeted at younger audiences (and there were plenty in the 1980s), the film is timeless and holds up exceptionally well, still feeling fresh.

Director John Hughes avoids cliches and creates genuine truth in cinema. The theme song, “(Don’t You) Forget About Me” is nearly impossible to hear without associating it with this film.

The storyline is uncomplicated; five high school students (Bender, Claire, Andy, Brian, and Allison) of differing social classes gather one Saturday morning in the high school library for a day of detention.

Each student appears to know the others, but only peripherally, having little in common.

Assistant Principal Vernon (Paul Gleason) assigns them to complete a thousand-word essay by the end of the day. The group engages in mischievous antics, and squabbles, and discusses their respective roles and troubles in life throughout the day.

The film looks and feels like a small independent feature rather than a big-budget offering, which is of enormous praise. The cast is very small- only the aforementioned six principles and two minor characters.

The setting is almost entirely inside the walls of a suburban high school with only a few exterior shots to speak of. Mainly what succeeds is that the characters interact with rich dialogue, good texture, and underlying insecurities that make the screenplay bristle with genuine angst.

It is tough to pinpoint who the lead characters would be, but arguably Claire and Bender (Molly Ringwald and Judd Nelson) are the pair expected to unite as a couple, as they do in the conclusion- this is predictable yet sweet.

Unexpectedly, however, the film pairs Andy and Allison (Emilio Estevez and Allie Sheedy). Both couples are complete opposites, Claire and Bender even despise each other throughout most of the film but realize their mutual attraction.

Careful not to weigh down the film with too much heavy drama, Hughes, who also wrote and produced the work, peppers in some comedic moments.

Gleason is the easy foil as the sole authority figure, a bit too dedicated to his job of humiliating and disciplining the students, but he does get his due humorously.

Either on-screen or off-screen, no adult figures are written in a positive light giving The Breakfast Club a complete teenage perspective.

But the main appeal goes to the teenagers and the message that Hughes successfully relays- that of the misunderstood young adult. Each character is unhappy in some way and feels put into a category or defined by the individual cliques they each belong to- whether they want to or not.

Hughes makes the film a treasure in terms of relating to the characters- everyone remembers high school and the insecurities wrestled with while attempting to get good grades and obtain acceptance.

Hughes brings these aspects to life with his slice-of-life tale.

Even if every character is not immediately recognized by the viewers themselves, each is empathetic nonetheless. When Andy reveals his father’s criticisms or Bender painfully recounts his father’s physical abuse, we feel for them, suddenly seeing the strong athlete or the burnout from our high school days in an entirely new way.

Mousy Allison gets a makeover from Claire and suddenly shines like a new dime- finally not being ignored. Brian’s overbearing parent’s pressures are almost too much for him to bear.

After the film, we are left to wonder what will happen on Monday morning during homeroom. Will the group continue their new friendships (or more) or simply return to the normalcy of their respective peer groups?

Hughes wisely does not satisfy our piqued curiosity but rather leaves it to our imagination.

The Breakfast Club (1985) holds appeal for the masses without feeling cliched or put upon- only feeling insightful and inspired to accept others we may have preconceived notions about.

1995 Films, Ann B. Davis, Barry Williams, Christopher Knight, Comedy, David Graf, Florence Henderson, Gary Cole, Jean Smart, Michael McKean, Satire, Shelley Long

The Brady Bunch Movie-1995

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The Brady Bunch Movie-1995

Director Betty Thomas

Starring Gary Cole, Shelley Long

Scott’s Review #750

Reviewed April 30, 2018

Grade: B

Capitalizing on nostalgia created from the popular 1960s-1970s television comedy “The Brady Bunch”, 1995’s The Brady Bunch Movie offers a nice treat for fans of the series, fondly reminiscing back to their youth or hours spent enjoying subsequent reruns after the show had ended.

The case with this reviewer, the film version is cute and silly, but exactly as would be expected, and the attention to detail using facets from the original series makes the film wonderful enjoyment and a job well done by director Betty Thomas.

The Brady Bunch Movie is not highbrow nor complex,  nor should it be. The work is just peppered with great jokes and a solid ode to the fun past.

Film fans looking for a good comedy and not having seen the series might miss out on some of the fun as a multitude of references only fans will appreciate abound throughout the length of the film.

The plot is not the strongest quality, but liberties must be taken since the intention is of a throwback and not much more- the story might have existed during the series but lengthened for film purposes.

Larry Dittmeyer, played by Michael McKean, schemes to coax all of his southern Californian neighborhood to sell their houses at a good price, to develop a lucrative shopping mall, presumably so they will all get rich.

When earnest Mike and Carol Brady (Gary Cole and Shelley Long) refuse the business deal, Larry embarks on a plot to use a foreclosing notice issued to the Brady’s as leverage in his deal. The Brady’s, owing $20,000 in back taxes due within a week’s time scramble to raise the money.

Predictably, the Brady kids rush to the rescue with a plan to secure the funds via a singing contest.

The film immediately gets off to a familiar start as we view the comfortable Brady house and all of the cozy qualities nestled inside- unchanged from the late 1960s- the groovy orange colors, the tie-dye, and the plaid outfits are all in tow.

Lovable Alice, in her blue and white housekeeper outfit, Mike, Carol, and all six Brady kids are back at the helm, having never missed a beat.

In short, they still live as if it were 1969 instead of 1995 and are oblivious to the outside world.

A tremendous treat for fans is the cameo appearances of a few of the original cast: Florence Henderson (Carol) and Ann B. Davis (Alice) have the more interesting parts, that of the Brady grandmother and truck driver, respectively.

Oddly, Maureen McCormick’s (Marcia), Susan Olsen’s (Cindy), and Mike Lookinland’s (Bobby’s) scenes were shot, but all cut- a major fail of the film whose fans undoubtedly would have liked to have seen all cast members.

Wouldn’t a group scene versus individual scenes have been a wonderful touch?

Missing is Robert Reed (Mike) who was deceased and Eve Plumb (Jan) who refused to appear.

The plot is silly, trivial, and completely predictable, but yet, so is the television series. As each episode was wrapped up in a nice bow with a defined conclusion and perhaps a lesson or two learned along the way, the film plays similarly.

McKean’s Larry and man-hungry wife Dina (Jean Smart) are perfect foils and play their roles with a relish only adding to the zany fun. A wonderful and timely point is how a Japanese businessman saves the day for the Bradys as a nice cultural inclusiveness touch is added- still relevant today.

An observation made while watching the film in the present time (2018), is the intended point of the film. In 1995, the point was to show how out of touch the Bradys were with “modern times”.

But in 2018 the tide has turned and 1995 now seems dated concerning the Brady years- sadly this gives the film itself more of a dated quality. This is always a risk taken when a film uses its current time as part of the plot.

The cool and hip cellular phone used by one character seems garish and uncool by today’s advanced standards.

Still, from Marcia’s flattened nose, The Monkees’ Davy Jones resurfacing, Cindy’s tattling, Jan’s insecurities, Greg’s cool suave manner, Peter’s breaking voice, and Bobby’s hall monitor job, the familiar stories and antics all resurface in a fun-filled hour and a half of comic nostalgia.

The Brady Bunch Movie (1995) is a light achievement and a nice trip down memory lane for many folks.

1988 Films, Alec Baldwin, Comedy, Harrison Ford, Joan Cusack, Kevin Spacey, Melanie Griffith, Mike Nichols, Oliver Platt, Olympia Dukakis, Ricki Lake, Romantic Comedy, Sigourney Weaver

Working Girl-1988

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Working Girl-1988

Director Mike Nichols

Starring Melanie Griffith, Harrison Ford, Sigourney Weaver

Scott’s Review #748

Reviewed April 26, 2018

Grade: B+

Released during a decade known for excess, fun, and light comedy films, especially during the latter half, 1988’s Working Girl was a blockbuster hit at the time, and in modern times is perfectly nestled as an identifier of the decade itself.

This can be both good and bad with both a dated feel and also a whimsical, basic good girl versus a bad approach that is appealing.

The film is romantic comedy fluff but is entertaining and features lovely views of New York City- one of my very favorite locales.

The film is directed by Mike Nichols, known more for the heavier subject matter (1966’s Who’s Afraid of Virginia Woolf and 1967’s The Graduate). His leading of the picture, as well as all-star casting, surely made this film better than it ought to have been.

Tess McGill (Melanie Griffith) commutes via the Staten Island Ferry each morning into vast Manhattan where she holds a secretarial job at a Wall Street investment bank.  When she has a bad experience with one of the brokers, she is reassigned to a female boss, the assertive Katharine Parker (Sigourney Weaver).

After Katharine steals Tess’s business idea and passes it off as her own to get in good with handsome Jack Trainer (Harrison Ford), Tess is determined to reveal the truth as a triangle develops between the three individuals.

In tow are Tess’s best friend Cynthia (Joan Cusack) and her cheating boyfriend, Mick (Alec Baldwin) in supporting roles.

Working Girl feels overwhelmingly like a “1980s film” and while relevant at the time and kindly nostalgic, the film does not hold up well in modern times, rather seeming to be suited for a time capsule, unlocked from time to time for kicks.

The most garish example is the hideous hairdos that Nichols has Tess and Cynthia don- frizzed out and caked with aqua net hairspray is over-the-top even for the 1980s.

Then there are the inevitable tacky outfits complete with bright colors and shoulder pads as the girls hustle to their dull jobs. With these costume tidbits in addition to the filming style the tone just screams the 1980’s.

The casting of the three leads is very good- Griffith, Ford, and Weaver all share nice chemistry and the clear rooting value is for Tess and Jack to live happily ever after- with Katharine as the obvious foil.

The conclusion of the film is of little surprise, but as a romantic comedy, this is standard fare. The point is that the relationships are dynamic and the ride is fun. Griffith is quite breathy and seductive in her role- a clear homage to the talents of Marilyn Monroe in her 1950s-era films.

Never known for great acting, Tess is the role of a lifetime for Griffith. Weaver sinks her teeth into an against-type villainous role and Ford is dashing and charismatic as the leading man.

My favorite parts of Working Girl, and the strongest aspects of the film, leaving an indelible impression even after all of these years, are the sweeping camera sequences of New York City featured throughout the film.

Lots of scenes were shot in neighboring Staten Island, but the best shots of all are the luminous skylines of Manhattan that encompass the opening sequence and later, viewpoints from the corporate offices.

There we see Tess on the Ferry heading across the Hudson River all with the wonderful soundtrack song by Carly Simon, Let the River Run, playing in the background. The soothing tune and the approaching mammoth city set a nice tone.

The story itself is a sort of rags to riches, Cinderella-style experience from the point of view of Tess. Taking night classes to better herself and clearly, a blue-collar type battling the giants of the corporate world and the more sophisticated Katherine (she speaks fluent French!) is an enormous draw of the film to sustain mainstream audiences.

Corporate greed versus the little guy is an adept comparison here. Almost borderline fairy tale, the fact that Tess gets the dashing Jack (in real life he would undoubtedly be with Katharine) makes the film good, escapist fare.

The working-class Staten Island versus the sophisticated Manhattan is another theme worth mentioning.

Thirty years beyond its original release. 1988’s Working Girl now seems dated, dusty, and of its time like many similar style films, but does still contain some of the enjoyment undoubtedly beholden to it at the time of release.

A film that is fine to take out of the vault, dust off, and enjoy for some good escapist cinema and a predictable story of good overcoming bad.

Oscar Nominations: 1 win-Best Picture, Best Director-Mike Nichols, Best Actress-Melanie Griffith, Best Supporting Actress-Joan Cusack, Sigourney Weaver, Best Original Song-“Let the River Run” (won)

1977 Films, Cloris Leachman, Comedy, Harvey Korman, Madeline Khan, Mel Brooks, Satire

High Anxiety-1977

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High Anxiety-1977

Director Mel Brooks

Starring Mel Brooks, Madeline Kahn

Scott’s Review #740

Reviewed April 11, 2018

Grade: A

For lovers of legendary film director Alfred Hitchcock (as this reviewer is a die-hard fan), the 1977 spoof/satirical feast High Anxiety is a must-see.

The film is simply a treat for the multitude (nearly twenty!) of fun references to Hitchcock classics that fans can easily point out. Such classics as 1964’s The Birds, 1945’s Spellbound, 1958’s Vertigo, and 1960’s fan-favorite Psycho are heavily parodied.

Producer, director, and star Mel Brooks abounds all expectations with a brilliant performance and a smattering of veteran Brooks ensemble players along for the ride.

Featured stars Madeline Kahn, Harvey Korman, and Cloris Leachman provide wonderful comic performances that are quite lively and memorable without ever being too zany or silly.

High Anxiety is a hilarious and clever production.

Brooks plays neurotic Doctor Richard Thorndyke, who has been hired by the Psycho-Neurotic Institute for the Very Very Nervous. His role is to replace Doctor Ashley, who has died mysteriously at the facility.

Transported by his nervous driver, Brophy, he meets a bevy of peculiar characters led by Doctor Charles Montague (Korman), a man with a BDSM fetish, and Nurse Charlotte Diesel (Leachman), the grizzled head nurse.

Thorndyke immediately receives death threats amid strange shenanigans seemingly following his every move.

Brilliantly, Thorndyke suffers from “high anxiety” a witty reference to Hitchcock’s character of Scotty from 1958’s Vertigo.

As he meets and falls in love with Victoria Brisbane (Kahn), a woman whose father is a patient at the facility, he becomes determined to prove the fraudulence and deceit of Montague and Diesel, while subsequently clearing himself of a murder charge orchestrated by the pair.

The murder scene- occurring in a crowded lobby- with Thorndyke caught red-handed holding the murder weapon as a camera snaps the shot for evidence, is a direct spoof of 1959’s North By Northwest.

To be clear, High Anxiety is not a high-brow film nor does it ever dare to take itself too seriously. It knows what it is and what it wants to achieve and that is to both entertain and please fans of Hitchcock.

The film is an ode and tribute to the general film-making of the director who reportedly adored the picture and the accolades that Brooks received for making it.

There is hardly a better stamp of approval than that.

I adore the casting and the odd characters Brooks writes, specifically Leachman and Korman. The duo ham it up with a script laced with great comic moments for the duo to sink their teeth into.

As Leachman, with her drill sergeant-like stiff posture and pointed bosom (Mrs. Danvers from 1940’s Rebecca), combined with the wimpy and snarky mannerisms of Korman’s character, they are the perfect combination of female dominant and male submissive as they play off of one another in a crisp style.

The sinister way that Nurse Diesel (my favorite character) utters the word “Braces”, a reference to her henchman, drizzles with dark humor and wit.

Piggybacking off of these characters, Dick Van Patten (Eight is Enough) gives a fine turn as the doomed straight man with a conscience,  Dr. Wentworth, who just knows something is up at the facility but is too timid to know exactly what it is.

His death scene is one of my favorites as derived from 1976’s Family Plot, the poor man is driven to ruptured eardrums and a subsequent stroke after his car is rigged to blast rock music, trapping him inside.

Brooks and Kahn make a lovable duo as the beleaguered romantic couple is forced into an adventure to prove innocence and rescue Victoria’s father from harm.

A favorite moment is Brooks’s wonderful rendition of the song “High Anxiety” at a hotel piano bar as he successfully woos Victoria is an entertaining romantic comedy moment.

Predictably- he gets the girl.

High Anxiety (1977) is delicious, silly, and peppered with great classic Hitchcock moments that are momentously fun to watch and pick out which movie they each reference is from.

An absolute must-see for all Hitchcock fans or those who simply want a humorous, lightweight introduction to the works of the Master.

2017 Films, Animated, Anthony Gonzalez, Benjamin Bratt, Best Animated Feature Oscar Winners, Cheech Marin, Children, Comedy, Dave Mullins, Disney, Drama, Edward James Olmos, Fantasy, Gael García Bernal, John Ratzenberger, Lee Unkrich, Pete Docter

Coco-2017

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Coco-2017

Director Lee Unkrich

Voices Anthony Gonzalez, Benjamin Bratt

Scott’s Review #737

Reviewed April 4, 2018

Grade: B+

Winner of the 2017 Best Animated Feature Academy Award, Coco is an exuberant and colorful affair filled with marvelous lights and a Mexican cultural infusion that serves the film well, making it feel robust with diversity and inclusion.

The overall theme of family, traditions, and musical celebration is apparent, making for good razzle-dazzle with lots of upbeat songs and dance.

Mixed in is a lovely inter-generational theme, where older folks are respected, something lacking in today’s real world.

Miguel Rivera is a twelve-year-old boy living in Mexico with his extended family, including his elderly great-grandmother, Coco, who is sadly suffering from intermittent dementia.

Through flashbacks, we learn that Coco’s father (Miguel’s great-great-grandfather) was an aspiring musician who abandoned the family for greener pastures.

Subsequently, the Rivera clan banned all music in favor of a modest shoe-making business.

As Miguel realizes his passion for music, he conflicts with his family, who have other aspirations for the young man. Miguel embarks on a fantastic journey to the magical and somewhat frightening land of his deceased ancestors, coinciding with the festive Day of the Dead celebration, a tradition of Mexican culture.

There he realizes the true nature of his great-great-grandfather’s sudden departure.

Coco is a film that can be enjoyed by all family members and is structured in just that way. The blatant use of multiple generations greatly appeals to the idea of blending the family unit.

Pixar successfully sets all the correct elements in place for a successful film, and the well-written story only adds layers. The film is quite mainstream, yet appealing to the masses.

Perhaps very young viewers may become frightened by some of the skeleton-laced faces of Miguel’s ancestors in the other world where he visits. Still, these images are somewhat tame and mixed with vibrant colors and extraordinary production numbers.

These images are undoubtedly meant to entertain rather than be scary and the creatures possess a friendly vibe.

Having viewed the film on an airplane traveling cross-country (admittedly not the best way to watch a film), the lovely and touching musical number “Remember Me (Lullaby)” entranced me, so much so that I was moved to tears right on the plane.

How’s that for effectiveness?

The emotional level reached via this song impressed me immensely about Coco, even when the story occasionally is secondary to the visual or musical elements.

In fact, the story began to lag slightly until the aforementioned big musical number came into play. The song really kicked the action into high gear emotionally, and I became more enamored with the characters and their connections to one another.

Miguel and his relatives’ love became more apparent, and the conclusion is pleasing and satisfactory.

A slight miss in the film, corrected midway through, is Miguel’s bratty and entitled nature. He heaves sighs when he does not get his way, which seems more apparent early on and was quite the turn-off—at first, I did not care for the character, yet I knew I was supposed to.

Thankfully, the character becomes the hero of the film and ultimately a sweet, likable character. I pondered, “Is that what kids like these days?”

Pixar does it again, creating a family-friendly experience with a positive yet non-cliched message of belonging, forgiveness, and the importance of family connections that feels fresh.

In current times of divisiveness, especially with immigration and other cultures being attacked, how appropriate is it to experience Coco (2017), a feel-good yet not contrived project?

Oscar Nominations: 2 wins-Best Original Song-“Remember Me” (won), Best Animated Feature Film (won)

1965 Films, Comedy, Drama, Federico Fellini, Giulietta Masina, International, International Comedy, International Drama, Italian, Mario Pisu, Sandra Milo, Valentina Cortese

Juliet Of The Spirits-1965

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Juliet Of The Spirits-1965

Director Federico Fellini

Starring Giulietta Masina, Sandra Milo

Scott’s Review #725

Reviewed February 15, 2018

Grade: A

A true Fellini film in every sense and perhaps his most personal film, 1965’s Juliet of the Spirits, is a colorful and masterful experience with fluid art direction and stunning sets and costumes.

As with most of his films, the story and its intricacies are odd and do not always make perfect sense, but the film is meant to be absorbed and felt and exhibits more of a central plot than some of his other works.

Juliet of the Spirits is undoubtedly a must-see for fans of Fellini or any novice who wants an introduction to the great director.

In a compelling tidbit of background information, lead actress Giulietta Masina, wife and muse of director Fellini and sometimes deemed the female Charlie Chaplin, plays a true-to-life character.

In real life, the woman suffered from her with a philandering husband- Fellini himself!

For this reason alone, the film is fascinating as a true-to-life story, leading the audience to empathize with Giulietta and her life of doldrums and turmoil.

Giulietta Boldrini (Masina) is an affluent woman living in Italy with her successful and dashing husband, Giorgio (Mario Pisu). Despite wealth, two housekeepers, and free time to do whatever she pleases, she is dissatisfied with her life and surroundings.

This occurs mainly after she hears her husband mutter another woman’s name in his sleep. Concerned and intrigued, Giulietta hires investigators to unravel the mystery, which spawns an adventure for her.

Instead of being a cookie-cutter film with a basic plot explained above, in proper Fellini form, the character of Giulietta traverses on a journey into the dreamlike and odd experience, tapping into her repressed desires and innermost thoughts while being exposed to her larger-than-life and sexy neighbor, Suzy (Sandra Milo).

The oversexed Suzy enlightens Giulietta to the joys of her mansion, treehouse, dazzling, weird friends, and bubbling sensuality.

Juliet of the Spirits is a joy to watch and quite a bit more linear than other complex masterpieces such as the 1960’s La Dolce Vita or 1969’s Fellini Satyricon.

The plot is spelled out presently- Giulietta is depressed and anxious for something new and exciting. Her journey into this new life while wrestling with her demons and resistance makes this film so much fun.

Styles and colors are brilliant and lavishly loud. Take the gaudy and glamorous nest that Suzy calls home. Her palace is both tawdry and sophisticated, with a built-in underground swimming pool where she bathes after lovemaking and velvety red walls and furniture.

Fellini uses gorgeous reds, greens, and blues throughout the film to create dazzle and spectacles with larger-than-life characters.

To further focus on Suzy for a minute, the blonde bombshell frequently visits her very own treehouse, complete with a swing. She flirts with handsome young men who gaze up at the scantily dressed beauty as she tosses her high-heeled shoe down to them in a suggestive manner.

When they come up to the top of the treehouse by way of a mechanical basket, presumably for sex, this is too much for the overwhelmed Giulietta, who returns to the safety of her own home. But she is excited and scared.

The film belongs to Masina, and we cannot help but wonder if Fellini created Juliet of the Spirits for the actress for his reported years of cheating. Regardless, Masina plays a confident woman on the outside- insecure on the inside, flawlessly.

With her expressive eyes and a nice smile, Masina enthusiastically embraces the role, making her a perfect fit for a Fellini film.

Juliet of the Spirits mixes several film genres, including fantasy, drama, and light comedy, and contains interesting supporting characters.

Suzy’s seemingly clairvoyant mother is a great side character. Upon meeting Giulietta, she immediately sees that the woman is troubled. Giulietta’s father, whom we meet when she is a little girl appearing in a religious play, is boisterous and spirited.

I was fortunate enough to stay at the Grand Hotel in Rome, a lavish yet strange establishment where Fellini spent many nights as a guest. While watching Juliet of the Spirits, I fantasized that he drew inspiration for this film from the hotel.

The grand red textures appear in the hotel and the Fellini film so I could have experienced a truly inspiring facility.

Stalwart, creative, and masterful director Fellini once again creates a stylish film that must be thought about following a good, solid viewing.

Too much analysis, however, will ruin the enchanting experience. Juliet of the Spirits (1965) is best enjoyed as a treat that will mesmerize you in glamorous fashion.

Oscar Nominations: Best Art Direction, Color, Best Costume Design, Color

2017 Films, Aidy Bryant, Anupam Kher, Comedy, David Alan Grier, Drama, Holly Hunter, Independent, Independent Comedy, Independent Drama, Judd Apatow, Kumail Nanjiani, Kurt Braunohler, Michael Showalter, Ray Romano, Zenobia Shroff, Zoe Kazan

The Big Sick-2017

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The Big Sick-2017

Director Michael Showalter

Starring Kumail Nanjiani, Zoe Kazan

Scott’s Review #720

Reviewed January 29, 2018

Grade: B+

The Big Sick, a 2017 independent “dramedy” film, takes what could be a standard premise and turns it upside down, offering a fresh perspective on a familiar tale about a prospering relationship.

The screenplay is the standout as the writing is intelligent and crisp. Thanks to exceptional acting by all four principal characters, The Big Sick is a success and worth watching.

The story follows an interracial couple, Emily and Kumail, played by Zoe Kazan and Kumail Nanjiani, who have recently started casually dating. Kumail is a standup comic living in Chicago who meets the flirtatious Emily after a club performance one night.

They share a one-night stand and agree never to see one another again.

As the smitten pair break their promise and form a romance, a tragedy occurs, landing Emily in a coma.

Kumail must handle Emily’s parents, Beth (Holly Hunter) and Terry (Ray Romano), who are angry with Kumail for misleading Emily and not telling her about his strict Muslim parent’s intentions of marrying him off by arranged marriage.

The screenplay (nominated for a 2017 Oscar nomination) is loosely based on the relationship between actor/writer Nanjiani (who stars), and Emily Gordon (who co-wrote the screenplay).

Especially since Nanjiani stars, the film is sincere and authentic, as if Nanjiani is living the role.

The chemistry between Nanjiani and Kazan during their many scenes at the start is a significant plus to the film. Before the drama takes off, the audience will become fully invested in the pair as a couple.

Whether the couple flirts as Kumail drives Emily home or fights when Emily learns about his Muslim culture’s belief in arranged marriage, the couple has a tremendous connection, and it shows.

The story fabric takes an interesting turn about midway through when Emily is stricken with a debilitating illness.

A medically induced coma is needed, as Kumail is forced to pretend to be her husband, this opens up many moral and legal ramifications that the film chooses essentially to ignore, instead of dealing with the relationships between Kumail and Emily’s distraught parents.

Hunter and Romano are excellent in the parent roles. Hunter is the more showy of the two and has more meat, while Romano holds his own and powers a vital comedy club scene in which he defends his wife from a callous heckler.

Admittedly, the film decides to go the “happily ever after” route, this is hardly a surprise given that Judd Apatow is the producer.

Remember, this is the same guy who produced safe films such as Superbad (2007) and Anchorman 2 (2013). Still, the story within The Big Sick is an enjoyable, character-driven ride, if not unpredictable.

A darker-tinged affair might have set this film over the top as it contains many other credible film qualities.

The addition of comic talent in the supporting roles of Kumail’s comedy club buddies adds a good balance and nicely counterbalances the drama so that it does not become too dour.

Much of the film involves Emily in a coma, so comic talent such as SNL’s Aidy Bryant and Comedy Central’s Kurt Braunohler are suitable ads.

I enjoyed the inclusion of the traditional Pakistani custom of arranged marriages, but at times this seems played for laughs rather than being a significant obstacle to the couple.

Kumail’s controlling mother parades one young Pakistani girl after another in front of her son as a way of encouraging him to select one of them. Kumail’s traditional family is played as stereotypes and the lighthearted foils of the film.

The Big Sick (2017) succeeds with crisp, witty dialogue and a solid story that nicely complements the intended comedy.

A few too many stereotypes and goofiness keep the action light even when compared to the more serious parts—great acting all around.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Supporting Female-Holly Hunter, Best First Screenplay (won)